sam gce2008 musictech sample

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GCE Music Technology

Edexcel Advanced Subsidiary GCE in Music Technology(8MT1)First examination 2009

Edexcel Advanced GCE in Music Technology (9MT01)First examination 2010

Sample Assessment Materials

September 2007



Edexcel GCE in Music Technology © Edexcel Limited 2007 Sample Assessment Materials 1

Contents

A Introduction............................................................................................ 3B Sample question papers ............................................................................. 5

Unit 2: Listening and Analysing.......................................................................7

Unit 4: Analysing and Producing.................................................................... 27

C Sample mark schemes ..............................................................................39

General marking guidance .......................................................................... 41

Unit 2: Listening and Analysing..................................................................... 43




Sample Assessment Materials © Edexcel Limited 2007 Edexcel GCE in Music Technology2




A Introduction

These sample assessment materials have been prepared to support the specification.

Their aim is to provide the candidates and centres with a general impression and flavour of the actual question papers and mark schemes in advance of the first operationalexaminations.




B Sample question papers

Unit 2: Listening and Analysing.......................................................................7





Examiner’s use only

Team Leader’s use only

Question LeaveNumber Blank

1

2

3

4

5

6

7

8

910

Total

Surname Initial(s)

Signature

Turn over

Paper Reference

6 M T 0 2 1Paper Reference(s)

6MT02/1Edexcel GCEMusic Technology

Advanced Subsidiary

Unit 2: Listening and Analysing

Sample Assessment Material

Time: 1 hour 45 minutes

Materials required for examination Items included with question papers

Individual CD player, headphones and Nilaudio CD of recorded extracts.

Instructions to CandidatesIn the boxes above, write your centre number, candidate number, your surname, initials and signature.Check that you have the correct question paper.Answer ALL questions.Write your answers in the spaces provided in this question paper or, where appropriate, choose an answer and put a cross in the box ( ). If you change your mind about an answer, put a line through the box ( ) and thenmark your new answer with a cross ( ).If you are using a computer to play the CD, access to sequencing software is NOT permitted.You must ensure that the left and right earpieces of your headphones are worn correctly.You must write in continuous prose in questions 5 and 6.

Information for Candidates

Each question number refers to the relevant track number on the audio CD, e.g. Question 1 refers to Track 1,Question 2 to Track 2 etc.You may listen to each track as many times as you wish within the overall time limit of the paper.The use of the words ‘instrument’ or ‘sounds’ refers to vocals, acoustic instruments,electric/electronic instruments and electronically-generated sounds unless otherwise stated.The marks for individual questions and the parts of questions are shown in round brackets: e.g. (2).There are 6 questions in this question paper. The total mark for this paper is 80.There are 20 pages in this question paper. Any blank pages are indicated.

Advice to CandidatesQuality of written communication will be taken into account in the marking in some of your responses. Thesequestions are indicated with an asterisk. Quality of written communication includes clarity of expression, thestructure and presentation of ideas and grammar, punctuation and spelling.




1

2

3

4

5

6

Total

Surname Initial(s)

Signature

Centre

No.

*N32903A0120*Turn over

Candidate

No.

This publication may be reproduced only in accordance with

Edexcel Limited copyright policy.©2007 Edexcel Limited.

Printer’s Log. No.

N32903AW850/XXXX/57570 3/2




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SECTION A

Answer ALL questions

Write your answers in the spaces provided in this question paper or, where appropriate,

choose an answer and put a cross in the box ( ). If you change your mind about an

answer, put a line through the box ( ) and then mark your new answer with a cross ( ).

1. The Sweet Blockbuster

Track 1: Music begins at 0’06”

*(a) How would you use technology to recreate the processing applied on the word

‘blockbuster’ at 1’24”?

.......................................................................................................................................

.......................................................................................................................................

(2)

(b) Page 3 has a diagram of a ‘sequencer arrange window’. Complete the diagram for

tracks 3 – 6 to show when each instrument is playing. The rhythm guitar and siren

parts, (tracks 1 and 2), have been completed for you as an example.




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(8) Q1

(Total 10 marks)

1 2 3 4 5 6 7 8 9 1 0

R h y t h m G

u i t a r

S i r e n

M a i n V o c a l s

A - a h V o c a l s

B a s s

D r u m s

T r a c k 7

T r a c k 8

T r a c k 9

T r a c k 1 0

B A R S

1

2

3

4

5

6

7

8

9

1 0

1 1

1 2

1 3

1 4

1 5

1

6

4

4

1 . 1 . 0

0 0

R h y t h m

G u i t a r

S i r e n




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2. Orchestral Manoeuvres in the Dark Enola Gay


(a) What type of GM drum kit would best recreate the sound heard at the beginning of

this track? Put a cross in the correct box.

A brush

B analogue

C power

D rock

(1)

(b) Using the printed notation below, circle the beats of the bar which are emphasised by

the ‘snare drum’ sound heard in the opening rhythm.

(2)




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(c) The main instrumental melody begins at 0’27”. It is made up of the four musical

phrases notated below. In the table below number these phrases 1, 2, 3 or 4 to indicate

the order in which you hear them.

A

B

C

D

Musical phrases Order in which they are heard

A

B

C

D

(4)




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(d) In which decade was this track recorded? Put a cross in the correct box.

A 1970s

B 1980s

C 1990s

D 2000s

(1)

*(e) Synthesizers feature prominently in this recording.

*(i) What is a synthesizer?

................................................................................................................................

(1)

*(ii) Briefly describe a common recording technique that could be used to add a

synthesizer part to a recording.

................................................................................................................................

................................................................................................................................

(1) Q2

(Total 10 marks)




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TURN OVER FOR QUESTION 3.




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3. Teardrop Massive Attack


(a) (i) Using the ‘drum edit’ grid below, complete the names of the two instruments

you hear playing the rhythm at the beginning of this extract, and ‘notate’ one

bar of the rhythm being played. The closed hi-hat has been done for you as anexample.

(4)

(ii) What GM sound would best describe the part heard fading in at 0’22”?

................................................................................................................................

(1)

*(b) Under each of the following headings, describe how technology has been used

creatively within this track.

(i) EQ ..........................................................................................................................

................................................................................................................................

(ii) Use of loops and samples ......................................................................................

................................................................................................................................

(iii) Effects processing ..................................................................................................

................................................................................................................................

(iv) Stereo field .............................................................................................................

................................................................................................................................

(4)




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(c) The style of this track could be described as ‘ambient electronica’. Which of the

following groups produces music in a similar style? Put a cross in the correct box.

A The Doves

B Gorillaz

C Air

D Greenday

(1) Q3

(Total 10 marks)




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4. Etta James I Just Wanna Make Love to You


(a) Which of the following styles of music has influenced this piece the most? Put a cross

in the correct box.

A Country

B Blues

C Dixieland

D Be-bop

(1)

*(b) The lead vocal in this recording has a wide dynamic range resulting in some distortion

in places. How might this problem be overcome in a modern recording?

.......................................................................................................................................

(1)

*(c) Identify one other feature in the recording of the vocal part on this track that might be

considered a weakness by modern standards.

.......................................................................................................................................

(1)

*(d) Describe two ways in which the musical arrangement changes at 0’36”.

1 ....................................................................................................................................

2 ....................................................................................................................................

(2)

*(e) The vocal performance differs noticeably in verse 3 (beginning at 1’32”) compared

with verse 1. Describe one difference.

.......................................................................................................................................

(1)




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(f) A solo instrument features prominently in this recording at 2’00”.

(i) Which solo instrument is heard?

................................................................................................................................

(1)

*(ii) Describe in detail how you would record this solo instrument using a close mic

technique.

In your answer you must include the following information:

• The type of microphone used

• The type of microphone polar pattern

• The position and the placement of the microphone in relation to theinstrument (including the approximate distance)

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

................................................................................................................................

(3)

TOTAL FOR SECTION A: 40 MARKS

Q4

(Total 10 marks)




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SECTION B

Answer BOTH questions

5. Special Focus Style: Rock and Roll

Elvis Presley Blue Suede Shoes


(a) Apart from the lead vocal, name the four instruments performing on this track.

1

2

3

4

(4)




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*(b) The table below describes five features of this 1950s recording that might be

considered to be ‘poor quality’ by modern standards. Suggest how the problems might

be overcome in a modern day recording.

Problem Solution

There is no stereo field – it is a mono

recording

There is distortion in the recording

The instrumental parts are poorly

balanced within the recording

Some parts are indistinct and ‘muddy’

in the recording

There is little depth of field

(5)

(c) One of the instruments in the band has an effect applied to it. Name the instrument

and the effect.

Instrument: ....................................................................................................................

Effect: ...........................................................................................................................

(2)




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*(d) Early rock and roll music was influenced by the blues. Describe five aspects of blues

music that you can hear in this track. You should refer to the melody, harmony and/or

performance in your answer .

1 ....................................................................................................................................

.......................................................................................................................................

2 ....................................................................................................................................

.......................................................................................................................................

3 ....................................................................................................................................

.......................................................................................................................................

4 ....................................................................................................................................

.......................................................................................................................................

5 ....................................................................................................................................

.......................................................................................................................................

(5)




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*(e) Comment on the contribution made to the development of rock and roll music by

one of the following artists/bands, referring to specific tracks where appropriate to

illustrate your answer:

• Buddy Holly and the Crickets

• Little Richard

• Bill Haley and the Comets

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(4) Q5

(Total 20 marks)




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6. Special Focus Style: Rap and Hip Hop

The Black Eyed Peas Where is the love


(a) This track contains a very prominent ‘hook’, which is heard repeatedly throughout thesong.

(i) Which of the following GM sounds would best recreate the sound heard at the

beginning of the track? Put a cross in the correct box.

A synth strings

B tremolo strings

C orchestral hit

D violin

(1)

(ii) This hook is notated below. Complete the missing pitches using the rhythm

indicated above the stave.

(4)




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*(b) Describe the structure of this track.

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(2)

*(c) Highlight three features of this track that are typical of rap music.

1 ....................................................................................................................................

.......................................................................................................................................

2 ....................................................................................................................................

.......................................................................................................................................

3 ....................................................................................................................................

.......................................................................................................................................

(3)




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*(d) Outline the development of rap and hip-hop music from the mid 1970s to the present

day, making specific reference to the cultural and historical circumstances of the

time.

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(5)




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*(e) How has music technology been used in this recording? Provide examples from the

recording to support your answer. Identify where these occur as precisely as you

can.

You may refer to any of the following:

• stereo field/panning• effects processing

• overdubbing

• dynamics processing

• EQ

• instrumentation

• other aspects of the production.

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

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.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(5)

TOTAL FOR SECTION B: 40 MARKS

TOTAL FOR PAPER: 80 MARKS

END

Q6

(Total 20 marks)




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Surname Initial(s)

Signature

Centre

No.

Turn over

Candidate

No.


1

2

3

4

5

Total

Paper Reference(s)

6MT04/1Edexcel GCEMusic Technology

Advanced

Unit 4: Analysing and Producing

Sample Assessment Material

Time: 2 hours

Materials required for examination Items included with question papers

Good quality computer workstation Nilwith MIDI keyboard and headphones.CD of recorded extracts.A blank audio CD.Internet access is not permitted.

Instructions to CandidatesIn the boxes above, write your centre number, candidate number, your surname, initials and signature.Check that you have the correct question paper.Answer ALL the questions. Write your answers in the spaces provided in this question paper.Do not use pencil. Use blue or black ink.Write your answers to Section A in the spaces provided in this question paper. Record your answers toQuestions 2 (a) and (b) and 3 (b) and (c) in Section A, and Question 5 in Section B on a CD. Your audio CDmust contain the following tracks:1. Bass part from Question 22. Drum part from Question 33. Final mix from Question 5You must ensure that the left and right earpieces of your headphones are worn correctly.

Information for CandidatesThe marks for individual questions and the parts of questions are shown in round brackets: e.g. (2).There are 5 questions in this question paper. The total mark for this paper is 80.There are 12 pages in this question paper. Any blank pages are indicated.

Advice to CandidatesQuality of written communication will be taken into account in the marking in some of your responses. Thesequestions are indicated with an asterisk. Quality of written communication includes clarity of expression, thestructure and presentation of ideas and grammar, punctuation and spelling.

Instructions to TeachersEach candidate’s final stereo mix is to be recorded onto an individual audio CD. The audio CD and thisdocument must be sent to the examiner. The audio CD must be clearly labelled with centre number, candidatename and candidate number.

This publication may be reproduced only in accordance with

Edexcel Limited copyright policy.©2007 Edexcel Limited.

Printer’s Log. No.

N32905AW850/XXXX/57570 3/2

*N32905A0112*

Paper Reference

6 M T 0 4 1




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blank

Answer ALL questions.

Open your music production software. Create a new project and set the BPM of the

computer to 88.

Load the examination CD. This contains a set of 11 .wav files that form the tracks of a

demo for the theme tune of a television ‘soap’.

SECTION A

1. Select an audio track and import track 1 of the CD. This track is the melody and is notated

opposite.

(a) Play the track. There are three errors in pitch where the score is incorrect. Identify

two of the errors, circling them in the score on page 3. Write down the correct notes

above the stave.

(4)

(b) Play the track and identify two errors in rhythm. Circle the incorrect rhythms in the

score on page 3 and write down the correct notes above the stave.

(4)

*(c) The original track was recorded as a MIDI track. Give four reasons why a MIDI track

might have been chosen to give greater control over the performance.

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(4)




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12 B A Dm G11 D.C.

9C Am

7Fine

7 C/G G

11

C/G G11

1

C

4 Bdim E7

F D /F7

1

88 BPM

C GF

2

Gm7




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*(d) Describe how you would record a live piano. In your answer you must refer to

microphone choice and placement, room acoustics and any effects or processors

used.

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(8) Q1

(Total 20 marks)




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2. Import track 2 of the CD (a keyboard backing part) into the next available audio track

beneath the melody part.

You may answer questions (a) and (b) in either order.

(a) Import tracks 3, 4 and 5 and, using appropriate production and editing tools, edit them

together to form a complete bass part to fit the melody.(6)

(b) Tracks 3, 4 and 5 have not been recorded at the same level. Using appropriate

production and editing tools adjust the levels so the final bass track is even in volume

all the way through.

(3)

Transfer the completed bass track to your CD (as track 1). Q2

(Total 9 marks)




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3. Import Tracks 6, 7, 8, 9, 10 and 11. Each is a one-bar drum pattern.

*(a) List four differences between the drum patterns in Tracks 6 and 9.

1 ....................................................................................................................................

2 ....................................................................................................................................

3 ....................................................................................................................................

4 ....................................................................................................................................

(4)

(b) Track 6 is slightly too long. Trim it to the correct length so it loops accurately.

(3)

(c) Compile a drum track by copying and pasting together the samples as shown in thetable below.

Bar Track

1-3 6

4 7

5-7 6

8 7

9 8

10-12 9

13 10

14-16 6

17 7

18-20 6

21 722 6

23 11

(6)

Transfer the completed drum track to your CD (as track 2).




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*(d) Other than trimming, what processes might be used to match samples?

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

.......................................................................................................................................

(4) Q3

(Total 17 marks)




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*4. Describe how advancing technology over the last 20 years has changed the way we

approach multi-track recording.

..............................................................................................................................................

..............................................................................................................................................

..............................................................................................................................................

..............................................................................................................................................

..............................................................................................................................................

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TOTAL FOR SECTION A: 62 MARKS

Q4

(Total 16 marks)




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SECTION B

5. You should now have the following tracks on the computer; melody, keyboard, bass and

drums.

Produce a final balanced stereo mix using appropriate effects and transfer the final mix to

your CD (as track 3).

TOTAL FOR SECTION B: 18 MARKS

TOTAL FOR PAPER: 80 MARKS

END

Q5

(Total 18 marks)




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C Sample mark schemes

General marking guidance .......................................................................... 41

Unit 2: Listening and Analysing..................................................................... 43





General Marking Guidance

All candidates must receive the same treatment. Examiners must mark the firstcandidate in exactly the same way as they mark the last.

Mark schemes should be applied positively. Candidates must be rewarded forwhat they have shown they can do rather than penalised for omissions.

Examiners should mark according to the mark scheme not according to theirperception of where the grade boundaries may lie.

There is no ceiling on achievement. All marks on the mark scheme should beused appropriately.

All the marks on the mark scheme are designed to be awarded. Examinersshould always award full marks if deserved, i.e. if the answer matches the markscheme. Examiners should also be prepared to award zero marks if thecandidate’s response is not worthy of credit according to the mark scheme.

Where some judgement is required, mark schemes will provide the principles bywhich marks will be awarded and exemplification may be limited.

When examiners are in doubt regarding the application of the mark scheme to acandidate’s response, the team leader must be consulted.

Crossed out work should be marked UNLESS the candidate has replaced it withan alternative response.

Mark schemes will indicate within the table where, and which strands of QWC,are being assessed. The strands are as follows:

i) ensure that text is legible and that spelling, punctuation and grammar areaccurate so that meaning is clearii) select and use a form and style of writing appropriate to purpose and tocomplex subject matteriii) organise information clearly and coherently, using specialist vocabulary

when appropriate




Unit 2: Listening and Analysing

QuestionNumber

Question

1.(a) The Sweet Blockbuster .Track 1: Music begins at 0’06”.How would you use technology to recreate the processing applied on theword ‘blockbuster’ at 1’24”?

Answer MarkQWC (iii) filter sweep/change of EQ – cutting high end/delay/modulation (2)

QuestionNumber

Question

1.(b) Complete the diagram for tracks 3 - 6 to show when each instrument isplaying. The rhythm guitar and siren parts,(tracks 1 and 2), have beencompleted for you as an example.

Answer Mark

For each track, 1 mark for the instrument and 1 mark for the location. (8)




QuestionNumber

Question

2.(a) Orchestral Manoeuvres in the Dark Enola Gay .Track 2: Music begins at 0’07”.What type of GM drum kit would best recreate the sound heard at thebeginning of this track?

Answer MarkB. Analogue (1)

QuestionNumber

Question

2.(b) Using the printed notation below, circle the beats of the bar which areemphasized by the ‘snare drum’ sound heard in the opening rhythm.

Answer Mark

Beats 2 and 4 should be circled (2)

QuestionNumber

Question

2.(c) The main instrumental melody begins at 0’27”. It is made up of the four

musical phrases notated below. In the table below number these phrases1, 2, 3 or 4 to indicate the order in which you hear them.

Answer Mark

Musical phrases Order in which they are heard

A 3

B 1

C 4

D 2

(4)

QuestionNumber

Question

2.(d) In which decade was this track recorded?

Answer MarkB. 1980s (1)




QuestionNumber

Question

2.(e)(i) Synthesizers feature prominently in this recording.What is a synthesizer?

Answer Mark

QWC (iii) An electronic sound generating device/electronic device capable of

creating/ manipulating sound/ creating synthetic sounds.

Ref. to plug ins accepted provided supported with detail re. modifying/changing sound (could be references to oscillators/ filtering/addictive/subtractive synthesis)(not keyboard/computer/sampling/MIDI)

(1)

QuestionNumber

Question

2.(e)(ii) Briefly describe a common recording technique that could be used to add asynthesizer part to a recording.

Answer Mark

QWC (i)

and (iii)

Direct line connecting the instrument to recording device/DI sequenced

(accept only if qualified with ref. to syncing via time code etc.)Not multitracking/overdubbing – not a recording method)

(1)




QuestionNumber

Question

3.(a)(i) Teardrop Massive Attack.Track 3: Music begins at 0’08”.Using the ‘drum edit’ grid below, complete the names of the twoinstruments you hear playing the rhythm at the beginning of this extract,

and ‘notate’ one bar of the rhythm being played. The closed hi-hat hasbeen done for you as an example.

Answer Mark

One mark for each correct instrument; One mark for each rhythmicallycorrect part.

(4)

QuestionNumber

Question

3.(a)(ii) What GM sound would best describe the part heard fading in at 0’22”?

Answer Mark

Harpsichord (1)

QuestionNumber

Question

3.(b) Under each of the following headings, describe how technology has beenused creatively within this track.

Answer Mark

QWC (i)and (iii)

(i) EQ. restricted frequency range on kick/overall ‘muddy sound’ to someparts/sibilance on vocal – high end boost; sub bass sound; high boost onsound at 1’48”(ii) Use of loops and samples ref. to drum loop/side stickrhythm/harpsichord loop/’crackling’ effect – sample of vinyl scratch?/repetitive piano part/regularity of musical patterns – recurring velocitiesetc.(iii) Effects processing echo/delay/reverb on vocal; dry, room effect onside stick; reverb on harpsichord , piano and synth effects(iv) Stereo field narrow stereo field at beginning of track; ’49” – synthsound panned L >R > L > R; 1’28” – rhythmic tapping on left;1’48” - synthsound panned across the stereo field L > R > L

(4)

QuestionNumber

Question

3.(c) The style of this track could be described as ‘ambient electronica’. Whichof the following groups produces music in a similar style?

Answer Mark

C. Air (1)




QuestionNumber

Question

4.(a) Etta James I Just Wanna Make Love to You.Track 4: Music begins at 0’08”.Which of the following styles of music has influenced this piece the most?

Answer Mark

B. Blues (1)

QuestionNumber

Question

4.(b) The lead vocal in this recording has a wide dynamic range resulting in somedistortion in places. How might this problem be overcome in a modernrecording?

Answer Mark

QWC (iii) Use of compression/limiting (1)

QuestionNumber

Question

4.(c) Identify one other feature in the recording of the vocal part on this trackthat might be considered a weakness by modern standards.

Answer Mark

QWC (iii) Attention to EQ management

Plosives

Breath noise

(1)

QuestionNumber

Question

4.(d) Describe two ways in which the musical arrangement changes at 0’36”.

Answer Mark

QWC (i)

and (iii)

More legato/sustained notes in string parts

Less prominent saxophone part Continuous/repetitive piano chords – piano enters

Flowing walking bass line added

(2)

QuestionNumber

Question

4.(e) The vocal performance differs noticeably in verse 3 (beginning at 1’32”)compared with verse 1. Describe one difference.

Answer Mark

QWC (i)and (iii)

More improvised/use of upper vocal range

Melody line elaborated upon

Rawer sound/more aggressive delivery

(1)




QuestionNumber

Question

4.(f)(i) A solo instrument features prominently in this recording at 2’00”.Which solo instrument is heard?

Answer Mark

Tenor/baritone saxophone (1)

QuestionNumber

Question

4.(f)(ii) Describe in detail how you would record this solo instrument using a closemic technique.In your answer you must include the following information:

The type of microphone used

The type of microphone polar pattern

The position and the placement of the microphone in relation tothe instrument (including the approximate distance).

Answer Mark

QWC (iii) Condenser (dynamic possible)

Cardioid/hyper cardioid acceptable (NOT figure 8/omni)

12” – 48” (30cm to 1.5m)

(1)(1)(1)




QuestionNumber

Question

5.(a) Special Focus Style: Rock and RollElvis Presley Blue Suede ShoesTrack 5: Music begins at 0’11”

Apart from the lead vocal, name the four instruments performing on thistrack.

Answer Mark

1 Electric guitar

2 Upright bass

3 Drum kit

4 Acoustic guitar

(4)

QuestionNumber

Question

5.(b) The table below describes five features of this 1950s recording that mightbe considered to be ‘poor quality’ by today’s standards. Suggest how theproblems might be overcome in a modern day recording.

Answer MarkQWC (i)and (iii)

Problem SolutionThere is no stereo field – it is amono recording

Mix to stereo master/place eachpart separatelyin stereo field

There is distortion in the recording Use PFL to check levels/rehearseand adjust levels accordingly/usecompression to control dynamicrange/check levels and indicationsof clipping

The instrumental parts are poorlybalanced within the recording

Multi-track the parts to individuallyadjust the

level/fader of each part in themix/adjust relative balance of parts

Some parts are indistinct and‘muddy’ in the recording

Apply different EQ to individualpartsSelect instrument appropriate micsSelect best mic/positioning forinstrument

There is little depth of field Apply diff. FX (reverb) to each part

(5)




QuestionNumber

Question

5.(c) One of the instruments in the band has an effect applied to it. Name theinstrument and the effect.

Answer Mark

Instrument: Guitar

Effect: Reverberation/echo

(1)

(1)

QuestionNumber

Question

5.(d) Early rock and roll music was influenced by the blues. Describe fiveaspects of blues music that you can hear in this track. You should refer tothe melody, harmony and/or performance in your answer.

Answer Mark

QWC (i)and (iii)

12 bar blues chord structure/variations of/use of I, IV, V/3-chordtrick/(names of chords if key given e.g. C, F, G in the key of C)

fill-ins at ends of phrases

use of blues scale

limited melodic range

pitch bends/portamento (especially on vocal)

phrasing of melody – repetitive between verses

(5)

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Question

5.(e) Comment on the contribution made to the development of rock and rollmusic by one of the following, referring to specific tracks whereappropriate to illustrate your answer:

Buddy Holly and the Crickets

Little Richard

Bill Haley and the Comets

Answer Mark

QWC (i)and (iii)

Buddy Holly and the Crickets

wrote most of their own songs

distinctive vocal style of Buddy Holly – ‘stops’ in singing

“Oh, Boy” and “Peggy Sue”, well known amongst own compositions

broke union rules and worked outside the strict guidelines set down forcomposing and recording their material – made for an original sound

their original sound, consisting of the lead and rhythm guitars closelyinterlocked to create a fuller, harder timbre influenced the next waveof rock & roll; early British rock & roll and the subsequent BritishInvasion beat

experimented with sound – “Peggy Sue” introduced innovatorytechniques in mixing vocals and guitars

“Words of Love” was one of the earliest successful examples of double-tracked vocals in rock & roll – influenced the Beatles

made rock and roll popular in England – the group's heavy use of rhythm guitar complimented the sound of skiffle music, a mix of blues,folk, country, and jazz elements that constituted most of Britishyouth's introduction to playing music and their way into rock & roll.

Holly was specifically responsible for popularizing the FenderStratocaster, especially in England.

(2)+(2)




Little Richard

merged gospel with New Orleans R&B

recordings featured exciting piano

extravagant vocal lines – fast speed of vocal delivery, trills, ‘highoctane’ perforamances

achieved widespread popularity with well known hits - “Tutti Frutti”,“Long Tall Sally”, “Slippin” and “Slidin”, “Jenny, Jenny”, “Keep aKnockin”, “Good Golly, Miss Molly”, “The Girl Can't Help It”

much emphasis on tenor and baritone sax in the arrangements

introduced a greater flamboyance of performance

Bill Haley and the Comets

One of original pioneers of rock and roll before it even had a name

Most well known track was the single “Rock Around the Clock” toppingthe charts for eight weeks – the beginning of the rock & roll era?

Other significant early tracks: “Shake, Rattle and Roll”, “Rocket 88”,“Rock the Joint”, and “Crazy, Man, Crazy”.

Early track – “Rock the Joint” was first track on radio to be referred toas “rock & roll”

Much influenced by the youth culture experienced at early gigs inschools and concert halls - Haley tried to use phrases that he heardlike “Dance With a Dolly”, “Stop Beatin' Round the Mulberry Bush”,“Crazy, Man, Crazy” made for greater connection with young audience

“Crazy, man, crazy” hit the Top 20 on the pop charts in 1953, a firstfor a white band playing an R&B-style song.

“Rock Around the Clock” made the charts for one week at number 23,selling 75,000 copies but led way for “Shake, Rattle and Roll”.

“Shake, rattle and roll” sold over a million copies between late 1954and early 1955.

“Rock Around the Clock” became the second biggest worldwide-sellingsingle after Bing Crosby's “White Christmas”

Bill Haley’s success was all before Elvis Presley, Chuck Berry's, RoyOrbison and Buddy Holly – very much a pioneer - the only establishedwhite rock & roll band, and the only white rock & roll stars in theworld

From the end of 1954 until the end of 1956, they would place ninesingles into the Top 20, one of those at number one and three more inthe Top Ten.

The Comets were one of the best rock & roll bands of their era, with amostly sax-driven sound ornamented with heavy rhythm guitar fromHaley, a slap-bass, and drumming with lots of rim-shots

Portrayed a ‘safer’ image than the sexualized image of Elvis Presleytheir music was generally R&B crossed with country boogie and honkytonk.




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Question

6.(a)(i) Special Focus Style: Rap and Hip HopThe Black Eyed Peas Where is the loveTrack 6: Music begins at 0’11”

This track contains a very prominent ‘hook’, which is heard repeatedlythroughout the song.

Which of the following GM sounds would best recreate the sound as heardat the beginning of the track?

Answer Mark

C. orchestral hit (1)

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Question

6.(a)(ii) This hook is notated below. Complete the missing pitches using the rhythmindicated above the stave.

Answer Mark½ mark per correct pitch (4)

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Question

6.(b) Describe the structure of this track.

Answer Mark

QWC (iii) Intro – Verse 1 – Chorus – Verse 2 – Chorus – middle 8 – Verse 3 – Chorus –Outro (accept letters or diagrams)

Verse and chorus structure — 1 mark

plus intro/middle 8/outro — 1 mark

(2)




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Question

6.(c) Highlight three features of this track that are typical of rap music.

Answer Mark

QWC (i)and (iii)

Typical features:

words spoken in rhythm

repeated rhyming words (assonance) particular words stressed to provide emphasis

call and response with backing vox

text about politics/issues

prominent bass line riff/hook

more melodic chorus

use of street language/street poetry

(3)

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Question

6.(d) Outline the development of rap and hip-hop music from the mid ‘70’s tothe present day, making specific reference to the cultural and historicalcircumstances of the time.

Answer Mark

QWC (i)and (iii)

Award one mark for each valid and relevant observation (subject torestrictions below). One extra mark for a musical reference (the specificcontribution made by an album, track or an artist) to a maximum of onemark per point illustrated.

Valid points might include:

DefinitionsRappers (MCs) and DJs, max 1 mark for non musical cultural observations(eg break dancing, graffiti, bling)

Cultural and historicalOrigin in United States, New York, DJs, MCs, clubs, rappers in TimesSquare, 'do it yourself' culture (similar to punk), politics (end of Vietnamwar), civil rights (Black Panthers), recent links with gangster culture (max 1mark for references to violence, drugs, misogyny)Rap crews now established in the UK, France, Middle East, Russia, alsofeatured in Bhangra (eg Apache Indian) generally covers race, politics andurban issues.

MusicalDeveloped from dub reggae/toasting, use of drum machines/TR808/beatboxes, DJs using decks for scratching, breakbeats, drum loops, oftenderived from funk (especially James Brown) and soul, now employs samples

and remixes, recent developments on west coast, G funk, gangsta rap,hardcore.

(5)




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Question

6.(e) How has music technology been used in this recording? Provide examplesfrom the recording to support your answer. Identify where these occur asprecisely as you can.

You may refer to any of the following:

stereo field/panning

effects processing

overdubbing

dynamics processing

EQ

instrumentation

other aspects of the production

Answer Mark

QWC (i)and (iii)

Possible answers might include:

guitar part ‘auto’ panned left and right at beginning of track

reverse cymbal sound ‘swept’ (right>left>right>left) across thestereo field at start of track (and at ends of verses)

use of string sample throughout the song

use or repeated drum loop throughout the track

slight phase effect on opening guitar chords

overdubbing of vocals on ends of phrases

panning of specific parts (must specify part and place in track – e.g.backing vocals panned left and right in second verse; rising guitarfigure on right in second chorus)

distortion on guitar solo at 3’05”

guitar solo at 3’05” – low EQ cut

final string chord panned across stereo field

Answers should make specific reference to the instrumental part(s)affected and the position within the track (either time or sectionreference) to gain full credit.

(5)




Unit 4: Analysing and Producing

QuestionNumber

Question

1.(a) Play the track. There are three errors in pitch where the score is incorrect.Identify two of the errors, circling them in the score on page 3. Write downthe correct notes above the stave.

Answer MarkTwo of the following:

Bar 3, beat 3 — A should be GBar 7, beat 1 — E should be GBar 12, beat 4 — F should be G

1 mark for each error identified and 1 mark for correction

(4)

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Question

1.(b) Play the track and identify two errors in rhythm. Circle the incorrectrhythms in the score on page 3 and write down the correct notes above thestave.

Answer Mark

Bar 5, beats 3/4 — dotted crotchet should be two crotchetsBar 10, beat 1 — crotchet but should be quaver rest with quaver.

1 mark for each error identified and 1 mark for correction

(4)

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Question

1.(c) The original track was recorded as a MIDI track. Give four reasons why aMIDI track might be chosen so as to give greater control over theperformance.

Answer MarkQWC (i)and (iii)

1 mark for each correct point which might include:

choice of timbres/ control of timbres/effects step time input/correction of errors/score editing/quantising/groovesvelocity/volume/articulation/phrasing/control messages/ pedalling

(4)

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Question

1.(d) Describe how you would record a live piano. In your answer you may referto microphone choice and placement, room acoustics and any effects orprocessors used.

Answer Mark

QWC (i)and (iii)

1 mark for each correct point which might include:

Studio with effects added/live room/hall/condenser mics/closemiking/cardioid/crossed pair/ambient mics/mics inside piano/underpiano/overhead/blankets over lid/reverb or delay/compression.

(8)




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Question

2.(a) Import tracks 3, 4 and 5, using appropriate production and editing tools, edit themtogether to form a complete bass part to fit the melody.

Mark Preparation of bass track — Pasting

6 Excellent – no errors evident.4 - 5 Good – a successfully edited track with few errors.

2 - 3 Inconsistent – some intrusive errors in editing.

1Poor – an unsuccessfully edited track with intrusive errors which detract from the finalresult.

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Question

2.(b) Tracks 3, 4 and 5 have not been recorded at the same level. Using appropriateproduction and editing tools adjust the levels so the final bass track is even in volumeall the way through.

Mark Preparation of bass track — Control of volume

3 An excellent result with consistent volume throughout.2 A mostly successful adjustment but with small areas of inconsistency.

1 The volume levels remain uneven despite attempts to even them out.




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Question

3.(a) List four differences between the drum patterns in Tracks 6 and 9.

Answer Mark

QWC (iii) 1 mark for any of the following:

Hi-hat added/in quavers/lift/on 4th and 8thbass drum rhythm/ two notes instead of three/ snare drum instead of handclap

(4)

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Question

3.(b) Track 6 is slightly too long. Trim it to the correct length so it loops accurately.

Mark Preparation of drum kit — Correction of length

3 An accurately edited sample.

2 A mostly successful adjustment but with small areas of inconsistency.

1 The sample is still the wrong length despite attempts to correct it.

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Question

3.(c) Compile a drum track by copying and pasting together the samples as shown in thetable.

Mark Preparation of drum kit — Pasting

6 Excellent – no errors evident.

4 - 5 Good – a successfully edited track with few errors.

2 - 3 Inconsistent – some intrusive errors in editing.

1Poor – an unsuccessfully edited track with intrusive errors which detract from the finalresult.

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Question

3.(d) This sample was trimmed, but what other processes might be used tocorrect differences in tempo and timing so as to match samples?

Answer Mark

QWC (iii) 1 mark for any of the following:

beat calculator/time stretch/tempo change/transpose/beat slicing orcutting/ insert silence/noise gate/resample/match level/ process dynamics

(4)




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Question

4.QWC (i),(ii) and(iii)

Describe how advancing technology over the last 20 years has changed the way weapproach multi-track recording.

Mark

14 - 16

An excellent response. Substantial and thorough with perceptive and accuratereferences to all the important recording technologies of the last 20 years and thereasons for advances made (e.g. increased computer processing power and datathroughput made HD recording a reality). The response will be coherent in terms of structure and chronology.

QWC: Very few syntactical and/or spelling errors may be found but these will not detractfrom the overall coherence. Excellent organisation and planning. All the skills required toproduce convincing writing are in place.

10 - 13

A good response. Detailed and accurate with reference to most of the main recordingtechnologies of the last 20 years with reasons for advances made. The response will be

coherent on the whole and include a sense of chronology.

QWC: Few syntactical and/or spelling errors may be found but these will not detract fromthe overall coherence. Good organisation and planning. Almost all of the skills requiredto produce convincing writing are in place.

6 - 9

An acceptable response. There may be limited detail, but reference has been made tomost of the main recording technologies of the last 20 years with some justification asto the advances made. The response will have some coherence, but may lack a sense of chronology at times.

QWC: Some syntactical and/or spelling errors may be found but overall the writing iscoherent. Some organisation and clarity. Most of the skills needed to produce convincingwriting are in place.

2 - 5

A limited response. Mention has been made of some of the important recordingtechnologies of the last 20 years, but little reason has been given for advances made.The response will have limited coherence and little sense of chronology.

QWC: Some syntactical and/or spelling errors are present. The writing will display somedegree of organisation and clarity but this will not be sustained throughout the response.Some of the skills needed to produce convincing writing are in place.

1

A poor response with little reference to any relevant technologies.

QWC: Frequent syntactical and/or spelling errors are present. The writing containspassages which lack clarity and organisation. A few of the skills needed to produceconvincing writing are present.




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Question

5. Produce a final, balanced stereo mix using appropriate effects and record the mix ontoyour final CD.

Mark Blend and Balance

6 Consistently well balanced and effectively blended across all parts of the mix.4 – 5 Most tracks are well balanced. Some minor slips on one or two parts. Some effective

blending of sounds.

2 - 3 Inconsistent balance. Important parts may be masked. Some unsuccessful blends.

1 Poorly balanced. Detrimental to the musical outcome.

Mark Use of Stereo Field

6 Creative, musically appropriate use of stereo field.

4 - 5 Mainly good use of stereo field, but with minor inconsistencies

2 - 3 Inappropriate or inconsistent use of stereo field.

1 Little or no use of stereo field or significant misjudgements in panning.

Mark Use of Effects6 Excellent, creative use of stylistically appropriate effects.

4 – 5 Well controlled use of appropriate effects.

2 – 3 Some inconsistency in application of effects processing

1 Unacceptably dry, reverberant or uncontrolled use of effects processing.



Further copies of this publication are available fromEdexcel Publications, Adamsway, Mansfield, Notts, NG18 4FN

Telephone: 01623 467467

Fax: 01623 450481

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